Allegory and the Art of Memory by Stephanie Moore a Dissertation

Allegory and the Art of Memory By Stephanie Moore A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Associate Professor David Landreth, Chair Associate Professor Joanna Picciotto Professor Emerita Elizabeth Honig Summer 2019 Abstract Allegory and the Art of Memory by Stephanie Moore Doctor of Philosophy in English University of California, Berkeley Associate Professor David Landreth, Chair Scholars of early modern literature often consider allegory inherently idealist, particularly in its exploitation of visual description, which, they argue, produces a spurious vividness that tries to pass off the schematic and the ideal as natural. Critics who subscribe to this view often celebrate Edmund Spenser's Faerie Queene (1590/96) as both a pinnacle of the genre and a skeptical anatomy of it—a great allegory that is great because it exposes allegory's illusions. As the argument goes, Spenser reveals the false visuality at the heart of allegory by complicating his imagery with naturalistic description. By turning allegorical images against themselves, the poem prevents allegory from subordinating the world of matter and appearances to a timeless conceptual order. This dissertation, Allegory and the Art of Memory, offers an alternative framework for understanding allegory's visuality and Spenser's use of it: the mental visualization techniques of the classical and medieval memory arts. Because these mnemonic methods draw mental imagery into the service of memorizing words and ideas, they too have been accused of visual bad faith, but recent scholarship has excavated the practical and philosophical contexts in which these methods were used, and this visual regime gives us a new way to think about allegorical imagery as well. I argue that in adapting the memory arts to narrative poetry, medieval allegorists did not aspire to impress an idealist image of cosmic harmony upon the empirical world but to lead readers through a voluntary and collaborative process of composing meditative imagery. In the following pages, I analyze three pre-Spenserian allegorical poems particularly engaged with the theory and practice of memory: Guillaume de Deguileville's Le Pèlerinage de la Vie Humaine (1330-32), Olivier de la Marche's Le Chevalier Délibéré (1483), and Stephan Batman's loose adaptation of Le Chevalier Délibéré into The Trauayled Pylgrime (1569). I use these analyses to illuminate crucial episodes of The Faerie Queene to show that, rather than revealing the fissures in the earlier poems' methods, The Faerie Queene continues their project by adapting allegory to the transformed media environment of sixteenth-century England, where the visual mnemonics of the memory arts had mostly been discarded. The pre-Spenserian poems I analyze borrow formal elements from mnemonic techniques while critically evaluating the practices and the role of memory in human life. The Faerie Queene, I argue, follows their trajectory into the age of print. Whereas the older poems treat their imagery as a 1 script for composing mental images, Spenser uses the formal tropes of the memory arts— image (imago), place (locus), and order (ordo)—to represent memory-processes, not just of the individual but of an entire culture, a collective record that is both analogous to memory and radically unaccommodating to the human mind. 2 Table of Contents Table of Contents: i Acknowledgements: ii Introduction: Medieval Memory and the Renaissance Poet: 1 Chapter One: Guillaume de DeGuileville's Book of Images: 20 Chapter Two: Olivier de La Marche and the Twilight of Mnemonic Allegory: 36 Chapter Three: Stephan Batman's Reformation of Allegory: 53 Chapter Four: How to Move Through a Spenserian Memory-Place: 72 Bibliography: 96 i Acknowledgements This project owes its existence to a number of supporters. First, the leaders and participants of the colloquia in which it was discussed: Alan Tansman, John Paulas and the 2015-16 Townsend Fellows; the 2014-15 Berkeley Connect Fellows and faculty; the members of the 2015 Medieval and Renaissance Colloquium; my seminar mates at the American Comparative Literature 2014, Renaissance Society of America 2015, and Shakespeare Association of America 2014 and 2016 annual meetings (especially John Tompkins, whose work helped me quite a bit); and especially my dissertation writing group, Jane Raisch, Katie Kadue, Sarah Mangin and Richard Lee, as well as the short-lived but glorious Memory Reading Group, Jess Bailey and Ray Schrire. Second, the individual colleagues who supported me: Hugh and Velma Bourgeois Richmond for their kindness, hospitality, and immense erudition; Jeffrey Knapp, Ellen Oliensis, and Elizabeth Honig for their generous feedback; Frank Bezner for our conversations about allegory; and Elizabeth Terry for pointing me toward poems that wound up at the center of this project, as well as for introducing me to the marvelous Susie Speakman Sutch, whose conversations and enthusiasm for Olivier de La Marche shaped this project significantly. I must also mention several people who helped me not as colleagues but as friends: Shelly Frank, Shane MacKay, and Violette Hong, who listened to me complain about this project for the better part of seven years. Immeasurable love and thanks must be given to my family: my mother Nancy Moore, who suffered along with me and is as glad to see this project finished as I am; my father Stan Moore, who kept my abstract on his phone and showed it to anyone who asked; my brother Greg Moore, who helped with some timely and skillful editing; and my aunt Karen Moore, who was always interested even when I wasn't. Also, my cat Franz, who didn't make it to the end but who sat on my lap and lived his cat life while I worked. All love and gratitude goes to my friends: Rachael Collins, Stephanie Bahr, David Crane, and Dan Clinton for their love, conversations, notes on drafts, and encouragement; Maureen Turner for helping me sort out a tangle; and last but certainly not least, Molly Steinberg Musman for keeping my spirits up at a number of low points. Finally, I owe any success in this project to David Landreth and Joanna Picciotto, whose brilliance made it better and whose support and belief kept it alive. ii Introduction Medieval Memory and the Renaissance Poet Allegory has an ambivalent relationship with imagery. Its advocates praise it for making ideas vividly present to the mind and putting them "before the eyes," while its critics deprecate its imagery as bloodless and inimical to naturalistic detail. Others combine these two positions, attributing to allegory a spurious vividness that tries to pass off the schematic and the ideal as natural. Allegory is often considered inherently idealist, its gestures toward mimesis serving only to conceal the complications and conflicts of the material world under an image of timeless harmony. For many such critics, Edmund Spenser's Faerie Queene (1590/6) both redeems and demolishes allegory: redeems it by being so much more interesting than the common rout of allegorical poems, and destroys it by preventing us from ever again accepting allegory's naive (and indeed pernicious) equation of images to ideas. As the argument goes, Spenser exposes the false visuality at the heart of allegory by complicating his imagery with naturalistic description. By turning images against themselves, the poem prevents the allegory from subordinating the world of matter and appearances to a timeless conceptual order. This critical perspective on allegory and The Faerie Queene pits schema and stereotype against naturalism—but these terms imply that verbal imagery produces meaning much the same way as physical picture-making. This dissertation offers an alternative framework for understanding allegory's visuality: the mental visualization techniques of the classical and medieval memory arts.1 Because practitioners of the memory arts use mental imagery to index memorized words and ideas, the memory arts too have been accused of visual bad faith, but scholarship of the past few decades has revised our understanding of what we might call the memory arts' visual regime by excavating the practical and philosophical contexts in which these techniques were used.2 These more complete descriptions of the memory arts give us a new way to think about allegorical imagery as well, and thus a new way of positioning The Faerie Queene in the tradition of allegorical poetry. I argue that in adapting the memory arts to narrative poetry, medieval allegorists did not aspire to impress an idealist image of cosmic harmony upon the empirical world but to lead readers through a voluntary and collaborative process of composing mnemonic mental imagery. Indeed, modern critiques of allegory echo sixteenth-century backformations medieval allegory by pedagogical and religious reformers who attributed a coercive quality to allegory (and a passivity to its readers) that medieval allegorists would not have recognized. In the following pages, I analyze three pre-Spenserian allegorical poems particularly engaged with the theory and practice of memory. I then use these analyses to illuminate crucial episodes of The Faerie Queene to show that, rather than revealing the fissures in the earlier poems' methods, The Faerie Queene continues their project by adapting allegory to the changing values and practices of scholarly memory. These pre-Spenserian poems—Guillaume de 1 Imagery-based mnemonics go under many names, including the ars memorativa, ars memoriae, artificial memory, mnemotechnics, memory-training, or simply memoria. I reserve "memory arts" as an umbrella term for all mnemonic imagery methods that descend from the Roman rhetorical tradition. 2 As I will show, these include theories of cognition that treat mental images as material phenomena and psychic processes as material, as well as reading and composition practices that require texts to be memorized and made "familiar" before they can be profited from.

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